dimanche 30 octobre 2011

Source Firstpost India by Janaki LeninCenturies ago, humans and beasts lived in harmony. People harvested the fruits of the forest for their basic needs and were satisfied. They did not aspire to trade with other communities nor did they reap more than they needed. Other races invaded India, cleared the forest, established settlements, and agriculture. Then came European colonization and the amicable connection with nature was forcibly snapped. Large cats were hunted to extinction, and forests were cut down for timber. This is the widely held belief of our environmental history but it is no more than a romantic myth.> read more

Publié par
Herve Perdriolle

samedi 29 octobre 2011

Source Business Standard by Kishore SinghThe market in its current state seems ripe for international sponsors, promoters and gallerists with their exposure and experience to start moving in and taking over the local markets to make up for their losses on their own home turf. If the disorganised Indian art market succumbs to an emerging East India Art Company Inc, it will have only itself to blame.> read more

Publié par
Herve Perdriolle

jeudi 27 octobre 2011

Source Mydigitalfc by Jemima RamanTarshito, born Nicola Strippoli, is the kind of artist who thinks – in full circles and symbols – in order to let you think. His works per se, where he uses mixed media, symbolisms, and strips of gold, could at best be described as interesting. But his concepts, especially the ones that he had coordinated with artisans from India, are mind-blowing. In these works, the traditional Indian art such as warli and patta chitras go beyond their brief – and the occasional pallus. The end result, stretched into forms and symbols that Tarshito-the-thinker has outlined, proclaim the Indian tradition majestically. “Indian crafts have such depth and richness. > read more

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Herve Perdriolle

mercredi 26 octobre 2011

Source The Metropolitan Museum of ArtIndian paintings have traditionally been classified according to regional styles or dynastic periods, with an emphasis on subject matter and narrative content. Recent scholarship, however, has begun to securely link innovations in style with specific artists and their lineages. Together with a careful study of artist's inscriptions and scribal colophons, it is now possible to construct a more precise chronology of the development of Indian painting.> read more

Source Art DailyThrough a long and arduous journey, the Tibetan contemporary artist Tenzing Rigdol has transported twenty thousand kilos (20,000kg) of soil from Tibet to India to build a site-specific installation at Dharamsala. Constructed as a raised platform, it allows people to stand and walk on Tibetan soil. A microphone erected on the platform invites the viewers to express their feelings. The design of the installation comes from the inspiration and interpretation of the Tibetan national flag and the history of Tibet.> read more

Source Mumbai BossFollowing cohorts Sudarshan Shetty and Jitish Kallat, Sheba Chhachhi has taken over the Bhau Daji Lad museum for her new solo show, her second in the city after her exhibition at Volte earlier this year. The reclusive and highly underrated artist has brought together some of her best works: light boxes, installations and photographs, which all touch on the always-relevant topic of environmental degradation. Don’t miss “The Water Diviner”, located on the first floor in a room at the back—among the towering piles of books and newspapers are Chhachhi’s glowing book-shaped boxes, in which she niftily melds scenic, miniature tableaux of nature with photos of polluted rivers.

Publié par
Herve Perdriolle

mardi 25 octobre 2011

Source Mumbai Boss by Deepanjana PalSomething quite legendary happened last week. My Little Princess, directed by Eva Ionesco—no relation of the absurd theatre genius Eugene—won the Golden Gateway award at this year’s Mumbai Film Festival. There are two reasons why this is noteworthy. One is that My Little Princess belongs to that rare clutch of films that have won the highest prize in a festival despite being screened upside down, which is how it was shown at the Mumbai Film Festival. The other reason is that by awarding My Little Princess, the festival has made a statement: it’s no shrinking violet. Bring on the provocative content; we can not only watch it, but also give it $100,000 in prize money.> read more

lundi 17 octobre 2011

dimanche 16 octobre 2011

Source The PioneerMen carrying firewood for food, women drawing water from the well, farmers watering crops, young boys playing with mud, cows grazing, birds flocking and the mighty sun shining bright. Those who know India are familiar with a busy morning in a quintessential Indian village. But in the expressions of Warli artists, the community has a homogeneity against the backdrop of the red earth. The villagers are all white, faceless and matchstick-thin, chasing lives made less ordinary by their stark originality of documentation and contemporaneity. Interestingly, today one of the country’s oldest art forms seems to be the most compelling way to tell the world the story of India and its roots. It has now been incorporated in cola commercials and the 2010 Commonwealth Games ceremonies.> read more

Source New York Times by Gayatri Rangachari ShahA few months ago, Wallpaper magazine published a limited-edition cover of the powerhouse artists Subodh Gupta and Bharti Kher posing in traditional Indian wear. The photo was, in Ms. Kher’s words, “so clichéd, I titled it, ‘In another life.”’ The cover was true to form for the husband and wife, who both use traditional references expressly to create works of art that turn conventions upside down. This is where the similarities between the two artists end — the works themselves are wildly different. But they say the fact that they share the same profession fuels their creativity.> read more

Publié par
Herve Perdriolle

vendredi 7 octobre 2011

Source The Hindu by Harish BalMallika Sarabhai's production – ‘India-Then, Now, For Ever,' – which was presented at Thripunithura, was a documentation of aesthetics, about the evolution of Indian art in its multicultural and plural context. An amalgam of classical, folk, tribal, and contemporary dances, the show brought out the unique essence in each without diluting its flavour. The tribal dances, which existed even before Vedic times, were part of ancient rituals. The amazing drum beats coupled with tribal costumes and the energetic dancing made the opening quite breathtaking.> read more

Publié par
Herve Perdriolle

jeudi 6 octobre 2011

Source The Guardian by Nosheen IqbalCan that be healthy? Cycles of boom and bust amid a critical vacuum can't promise a decent legacy for the artists coming up this way. Even now, it is difficult to attend a curatorial course specialising in a specific strand of Asian art; the knowledge isn't quite there, and even the Tate Modern admit that despite making great strides in acquisitions, their team of international art curators does not yet include an expert dedicated to the Asian market. For Mitha, this is where ATM can help the scene step up to the mark. "The dialogue starts between you, the viewer, and what you're seeing. You need to start at a place like ATM to get access to that work, to understand it in the first place."> read more

Publié par
Herve Perdriolle

mardi 4 octobre 2011

Source The Block by Darcy SmithIt’s hard to imagine that a country with the highest concentration of world wonders could possibly have culture envy, but these days the French seem to have a serious hard-on for the southern hemisphere, namely India. The Pompidou’s current collection, dubbed Paris-Delhi-Bombay, offers a sociological look at Indian culture, while a few doors away at agnès b’s Galerie du Jour, both masters and contemporary fringe artists offer a more primal perspective. Agnès b has been dictating the quality of cool since her 60s hippie princess debut, and her Galerie du Jour habitually shows off the best in indie, avant-garde art. (M)other India is no exception, celebrating the paradoxically sublime yet visceral nature of the vast, diverse subcontinent, bringing the Indian “other,” so to speak, home to roost.> read more

Source The Day by Kostiantyn HryshynThe first non-European Nobel Prize winner, author of Indian and Bangladeshi national anthems, talented poet, traveler, and humanist Rabindranath Tagore discovered the world of fine arts when he was almost 70. The next 12 years he devoted to painting and graphic art, creating about 2,000 works. “The dawn of my life was filled with songs, so let the sunset be filled with colors,” said Tagore once. It should be noted that Tagore never studied painting, he created his works as he thought he should, as his soul told him to. His contemporaries recollected that Tagore painted fast, confidently, with inspiration, and without editing finished paintings. “I don’t want to put walls around my house or blind my windows. I want the spirit of the culture of different countries to flow around as freely as possible, I just don’t want it to knock me off my feet,” said Tagore once.> read more

Source The Hindu by Jaya JaitlyShould India's traditional handcrafters occupy an elevated space in people's minds or should they remain on the pavements, bazaars, haats, and perhaps marginally in malls, to be looked at as poor street cousins of India's other cultural practitioners? Sixty years after three important Akademis were set up to promote cultural arts that come under the heading of dance, music, drama, literature and the fine arts, it may be time to take note of the huge reservoir of cultural heritage passing from generation to generation through the hands of craftspeople towards establishing a body that nurtures this heritage and builds respect beyond “marketing products” or subsidising “welfare”.> read more

This newsletter posted by Hervé Perdriolle in October 2007, tracks the news of the Indian Contemporary Art through an international press review regularly updated.Since 2008 more than 1.800 press articles listed - 145.000 pages viewed.